Indies Must Depend on Word-of-Mouth Advertising, or Fail, says Nat Levine (1937) 🇺🇸
Although he is today burdened with the direction of a thriving studio turning out a program of over 50 feature films, Nat Levine is still hailed by the industry as “King of Serial Makers.”
Presented by David J. Hanna
As he basks in the limelight as chief executive of Republic Pictures, one of the most flourishing and promising Independent companies, it seems a far cry from the days when his principal occupation was the annual production of a group of 15 episode thrillers, which invariably brought innumerable squeals of delight and countless shudders from awe-stricken children.
Nat Levine has grown in stature as a producer with his advancement to a spot of importance in this business and art. He is probably the most sought-after producer outside of the major group and not infrequently rumors are heard of fabulous offers made to him by various studios. With characteristic modesty, this reticent, yet dynamic man listens, then reaffirms his conviction that the real hope of the industry lies with the Independents — that is, those Independents who strive to advance the artistic and commercial values of their products in pouring into them their ingenuity, originality and sense of the public’s tastes. Levine believes in Independent production, believes that eventually it may prove to be the backbone of an art-industry that is becoming too routined, too careless of its output.
His tone, as well as his words, drives home to the listener that here is a man who is wrapped up in enthusiasm for his job, vet has the necessary hard experience to know its scope, its limitations, itus eternal hardships. Hear him:
“The independent producer has little chance to survive unless he can, somehow, contrive to convince the public that he can offer something different, something better thin the average. Pages of publicity, exploitation stunts and ballyhoo will never have the same potent effect on the box-office as word-of-mouth advertising. One pleased, entertained patron can do more towards making a picture successful than two pages of newspaper copy,” Nat Levine speaking.
“Here at Republic,” he continues, “we have had to learn the true meaning of the word ‘entertainment.’ Our long struggles with limited budgets, stories that are not so carefully devised, and second rate names in the casts have all been obstacles that require ingenuity to overcome. Unless we overcome them and justify the confidence and expectations of the exhibitor and the theatre patron, we are failures. In place of films featuring some established star names, we must make pictures that entertain the great mass of movie-goers.”
That his company is accomplishing its purpose with reasonable frequency may be gathered from the fact that Republic is rapidly making strides forward, both in the advancement of the quality of its product and in the respect it is earning from the nation’s theatermen.
Fifty-six tenures, including Westerns, will emanate from the Republic lot this year. Among them will be two starring vehicles for the former Met Opera songbird, Marion Talley, two or three musicals featuring the pleasant Irish tenor, Phil Regan, who left Warner Bros, to accept a contract from Levine. There will be, also, several tenures starring the famed comedy team of Olsen and Johnson [Ole Olsen | Chic Johnson], whose film careers started so auspiciously in “The Country Gentlemen.”
Another newcomer to the studio is Guy Kibbee, who will star in a group of pictures, the stories of which will be selected to fit his unique personality. The first will be “Special Orders,” with the rotund comedian creating the role of Jim Hanvey, a new type of comedy detective. Penned by Octavus Roy Cohen, it promises to result in a series built around the same character.
Perhaps the shrewdest move yet made by Levine will prove to be his teaming of those two veteran comediennes, Alison Skipworth and Polly Moran. They have already completed their first Republic feature and enthusiasm ran high in the projection room during the showing of an uncut print.
The difficulties of the better Independent producers, who desire, but cannot obtain recognized names for their productions is forcing them to search for “new faces” that show histrionic or musical ability. Levine, sensing the necessity for the development of new talent, has established the Republic Talent School, from which he hopes to draw personalities that will strike the public fancy while under contract to their sponsoring studio.
He has to his credit the discovery and development of Gene Autry, a young man who seems destined to achieve the very top of stardom in his field. The singing cowboy was a creation by Nat Levine, additional evidence of the man’s keen appreciation of what the public will accept as “entertainment.” It has been copied by other producers, but today Autry has the fastest growing following of any Western star, because his discoverer was first with the idea.
In “The Three Mesquiteers,” he may have another “find,” the idea of three inseparable cowboys striking the same note that made Dumas’ famous Three a classic of romantic literature.
It is because the Independent field fosters the sort of ingenuity that resulted in the discovery of a singing cowboy, the creation of a cowboy trio, the teaming of two almost-forgotten, but inimitable duo of comediennes, that Nat Levine turns a deaf ear on those attractive offers from the major studios and remains where his creative talent may have more freedom.
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Collection: Independent Exhibitors Film Bulletin, January 1937